463. Attributed to _Leonardo_, but probably spurious; Bacchus, a fine youthful figure, begun as a St. John Baptist, and afterwards altered. Compare with the other St. John Baptist near it. =*=_Beltraffio._ The Madonna of the Casio family. A characteristic Leonardesque virgin, attended by St. John Baptist and the bleeding St. Sebastian. (A votive picture.) By her side kneel two members of the Casio family, one the poet of that name, crowned with laurel. Intermediate Renaissance treatment of the Madonna and donors. 78 and 79. Good Franciscan saints, by _Moretto_. Between them, 298. Charming _Girolamo dai Libri_. We now come upon a magnificent series of works by =Titian=, in whom the Venetian School, ill-represented in its origin in the Salle des Primitifs, finds its culminating point. =**=440. _Titian._ The Madonna with the Rabbit. This is one of a group of Titian’s Madonnas (several examples here) in which he endeavours to transform Bellini’s type (see the specimen in the Salle des Primitifs) into an ideal of the 16th century. The Madonna is here attended by St. Catherine of Alexandria, marked as a princess by her coronet and pearls. The child, bursting from her arms, plays with the rabbit. Once more a notion far-removed from primitive piety. Notice the background of Titian’s own country. =Landscape= is now beginning to struggle for recognition. Earlier art was all figures, first sacred, then also mythological. 445. _Titian._ The Crown of Thorns. A powerful but very painful painting. The artist is chiefly occupied with anatomy and the presentation of writhing emotion. The spiritual is lost in muscular action. =**=443. _Titian._ The Disciples at Emmaus. Treated in the contemporary Venetian manner. This is again a subject whose variations can be well traced in this gallery. 451. _Titian._ Allegory of a husband who leaves for a campaign, commending his wife to Love and Chastity. Finely painted. 450. _Titian._ Portrait of François I^{er}. Famous as having been painted without a sitting—the artist had never even seen the king. He took the face from a medal. 448. _Titian._ Council of Trent. Very much to order. Above it, =*=_Titian_. Jupiter and Antiope. Charming Giorgionesque treatment of the pastoral nude. Compare with the Giorgione in the Salon Carré, in order to understand how deeply that great painter influenced his contemporaries. 453. _Titian._ Fine portrait. 439. _Titian._ Madonna with St. Stephen, St. Ambrose, and St. Maurice the soldier. Observe the divergence from the older method of painting the accompanying saints. Originally grouped on either side the Madonna, they are here transformed into the natural group called in Italian, a “santa conversazione.” Look at the stages of this process in the Salle des Primitifs and this Long Gallery. 442. _Titian._ Another Holy Family. Interesting from the free mode of its treatment, in contrast with Bellini and earlier artists. =**=455. _Titian._ Magnificent portrait.